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Shivalaya | Badami | Karnataka | India | Dec | 2008

The capital of the Early Chalukyas, Badami is picturesquely situated at the mouth of a ravine between two rocky hills. Badami is famous for its four cave temples - all hewn out of sand stone on the precipice of a hill. The temples dates back to 6th-8th century.

This picturesque location has been used by Mani Ratnam in numerous scenes in his famous film "Guru"(2007)

McGee, Charles (1924–2021)

Abstract Drawing

Pastel and chalk on paper

Support size: 14 5/8 x 12 3/8 inches; Image size: 9 1/2 x 7 1/2 inches

During his long life Charles William McGee was an artist interested in diverse subjects and skilled with many different materials. He was also a dedicated teacher and active member of his community—a “mover and shaker”—who made art for public spaces, organized exhibitions, and taught college students, as well as local youths and incarcerated individuals.

McGee was born on a sharecropper’s farm belonging to his grandfather near Clemson, South Carolina. He had little formal schooling and no art education before his move to Detroit in 1934, another example of the Great Migration. Once relocated he took art classes at the public library and was given a scholarship by the Detroit Institute of Arts to take evening drawing classes. Students drew from works in the museum’s collection, about which McGee said: “the museum was freeing, and I was in heaven. It opened up a whole new world.”

Unfortunately, McGee’s formal education ended in the tenth grade with the death of his mother. He was employed on a Works Progress Administration painting project before taking a factory job in the foundry and learned how to handle metal—a critical skill that served him well later when he made large-scale sculptures. Between 1943 and 1947 McGee served in the United States Marines and was stationed in the South Pacific as part of an all-Black supply company. He also worked in the laundry where he became acquainted with different fabrics, information that proved useful when he began making collages. Following his military service McGee returned to Detroit and took another job on an auto industry assembly line until the early 1950s when he shifted to the United States Army Tank Automotive Center. He was employed as a draftsman there until 1967.

Using the GI Bill, McGee took classes as a part-time student for ten years at the Society of Arts and Crafts (now the College for Creative Studies). He also became involved in the Black art scene in Detroit where Hughie Lee-Smith was active. McGee continued to visit the Detroit Institute of Arts where in 1955 he saw Jacob Lawrence’s John Brown series. In late 1967 he quit his industry job and began a yearlong sojourn in Barcelona, enrolling first at the municipal Escuela Massana, but shortly afterward moving on to another school where he concentrated on printmaking. He saw work by Pablo Picasso and Joan Miró and became enchanted by “the texture of living, the colors, [and] the oldness of everything” in Spain.

Upon his return to Detroit, in 1969 McGee opened Gallery 7, for the specific purpose of exhibiting Black art and selling African masks. He also organized the Charles McGee School of Art, where volunteer instructors taught Black youth. The school remained active until 1974. During the spring term of 1970 he was one of twelve Black artists in residence at the University of Delaware. At Eastern Michigan University in Lansing he first served in a similar position in 1969 before becoming a tenured faculty member until his retirement in 1987. In 1978 McGee founded the Contemporary Art Institute of Detroit and received the first Michigan Foundation for the Arts (now the Michigan Council) award. In 2008 the Kresge Foundation honored him with the first Eminent Detroit Artist award.

Initially a painter who depicted African and Egyptian infused imagery, McGee also enjoyed experimenting in a variety of materials and techniques: he had a non-objective phase on shaped canvases, made collages, and did large scale charcoal drawings; he also dabbled in plaster, which gave texture to his surfaces, as well as neon for reliefs. In addition, he was responsible for several large public commissions crafted from aluminum, both in relief and large, freestanding sculptures. He explained his goals: “Discovering solutions that transform mundane public spaces into lively, aesthetic, people-friendly environments is the will or force that motivates my work. … I am convinced that public art has a responsibility to educate, to maintain integrity, and to act in the service of its audience.”

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All the Small Things

TJC Gallery, Spartanburg SC

February 19, 2025 – April 4, 2025

thejohnsoncollection.org/all-the-small-things/

Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.

Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.

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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/

THE JOHNSON COLLECTION - A Private Collection for Public Good

thejohnsoncollection.org/the-collection/

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

Come experience how we put the art in SpARTanburg."

www.visitspartanburg.com/things-to-do/arts/

Hierarchical Divine Liturgy

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Hierarchy

Tree type infographic showing the hierarchy of types of wines.

Jesse Griffith

via:

www.informationisbeautiful.net/2009/the-hierarchy-of-digi...

Festival Internazionale di Performance Art - 9-10 Giugno, Torino, Italia 2012.Il T.P.A. Festival nasce con lo scopo di diffondere la Performance Art e di creare un’occasione di scambio tra artisti italiani e internazionali. PERFORMANCE LIVE08.06.2012 dalle h.21.00T.P.A. Pre-festival, Cittadellarte-Fondazione Pistoletto, Biella Chiara Curinga/Erica Fortunato (IT), Soledad Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Nathaniel Katz (CA/US), Getting inside my Computer Paolo Angelosanto (IT), For love only for love 09.06.2012 dalle h.18,30 T.P.A. festival, GreenBox, Torino Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Arrivsceccarelli (IT), Veglia di compleanno Chiara Curinga/Erica Fortunato (IT), Soledad Nathaniel Katz (CA/US), Getting inside my Computer Riccardo Santoro (IT), Invisibili (installazione). 10.06.2012 h.16,30 studio Stefano Giorgi, TorinoManuela Centrone (IT/FR), EStasi10.06.2012 dalle h.19.00 GreenBox, TorinoValentina Murabito/Vinzenz Fengler (IT/DE), Il luogo visivo del silenzioSara Pathirane (FI), CrisalideMichela Depetris (IT), Penelope SyndromeNatasa Korosec (HR), PossibilityPaolo Angelosanto (IT), For love only for loveRiccardo Santoro (IT), Invisibili (installazione)VIDEO SCREENINGSky Thomas Fairchild-Waller (1987, Canada. Vive e lavora a Toronto)-Hegemonic Masculinity/Preminenza mascolinaMeditazione sulle gerarchie di genere presenti nei concetti di mascolinità e di omossessualità.-Les Mots et les Choses/Le parole e le coseEstratti di testi di Michel Focault e Hemingway per esaminare la costruzione e la revisione ideologica di genere della grammatica.Annaclara Di Biase (1977, Torino. Vive e lavora a Castelfidardo, Ancona)-AgathaPortando l’attenzione su quella parte anatomica che più rappresenta l’essere donna, l’azione riflette sul corpo femminile nella società contemporanea. Il seno separato dal corpo diventa massa di plastina rosa che viene modellata, manipolata, impastata con un intervento scultoreo e culinario allo stesso tempo.Carlos Llavata (1964, Valencia. Vive e lavora a Madrid)-The Hunter/Il cacciatoreRiflessioni che riguardano le relazioni tra magia, sesso, cartoni animati … un’azione performativa legata a una delle principali paranoie concettuali dei nostri tempi.Cristina Mirandola (1974, Bologna. Vive e lavora a Biella)-Pegni d’amore (dittico)Sono due brevi azioni di una donna in vestaglia con il capo coperto da una maschera di feltro. Doni, parole, segreti. E' tutto ciò che torna, come le macchie che emergono dai tessuti bianchi. Bartolomè Ferrando (1955, Valencia. Vive e lavora in Spagna)-Novela-Menu-Poema sonoroPrendo sempre immagini poetiche come punto di partenza per il mio lavoro. La sfera poetica mi aiuta a costruire pezzi e strutture che posso usare per approcciarmi all’area della musica, della scultura, dell’azione.Guido Salvini (1962, Torino. Vive e lavora a Torino)-Prova di resistenza/strenght test 2”Una mano tenta di scrivere l'articolo 21 della Costituzione italiana, un'altra mano cerca di impedirglielo.Art.21 della Costituzione italianaTutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.Marika Dimattia (1986, Altamura. Vve e lavora a Bologna)-Maria FarrarIspirato alla poesia di Bertold Brecht “Della infanticida Maria Farrar”.Michela Depetris (1984,Torino. Vive e lavora a Torino)-Let the sunshine in 5’ minMi domando se sia possibile vivere il tempo come mera respirazione, a volte sembra che siamo fatti di tempo.Nadia Gomez Kiener ( Vive e lavora in Argentina)-Performance B2 (Sin titulo)La performer adotta un atteggiamento sgradevole e poco femminile, vuole essere il meno attraente possibile. Cercando di ribaltare una situazione che le donne vivono quotidianamente, flirta con tutti gli umomini che le camminano di fronte mentre si tocca la pancia gravida.Ruth Vigueras Bravo (1981 Mexico. Vive e lavora in Messico)-Viva Mexico! 1 -Viva Mexico! 2 -Viva mexico! 3Attraverso l’utilizzo dissacrante di alcuni simboli che rapprensentano il suo Paese, l’artista critica l’uso illegittimo del potere pubblico per il guadagno privato, generando una riflessione sulla situazione politica messicana durante gli ultimi sette mandati presidenziali.Silvio De Gracia (1973, Buenos Aires. Vive e lavora in Argentina)-Personal DuchampDialogo visivo e spirituale tra l’artista e l’orinatoio di Marcel Duchamp.BBB Johannes Deimling (1969, Andernach. Vive e lavora in Germania)-Wille (Will)26’min-Shamrock “for you” 17’minDeimling non è interessato a raccontare storie ma piuttosto a trasformare le sue osservazioni in immagini fisiche che possano essere, nella loro intensità, un’esperienza per tutti.Tamara Platisa & Sasa Rajsic (Yugoslavia, vivono e lavoran a Toronto e Helsinki)-Tamara. Sasa. Tamara! Sasa!I performer sono uno di fronte all’altra e si chiamano a vicenda compiendo uno sforzo fisico percomunicare. Mentre emettono suoni con la voce creano una linea invisibile.Hyslom (JP)-Documentation of HysteresisAttraverso questa opera, Hyslom, collettivo artistico originario di Kyoto, mira a portare alla superficie le caratteristiche, i sistemi, I fenomeni naturali, e altri elementi che sono scomparsi o che sono stati nascosti dalle trasformazioni che le città e I paesaggi hanno subito.10.06.2012 h.21,30-23.00 GreenBox, TorinoOut of limitsa cura di Silvio De Gracia10.06. 2012 h.17.00-19.00 GreenBox, TorinoJulieta Maria, Exercises in faith:soilRicardo Miguel Hernandez, InvencibleDeng Da Fei, China AstronautBaggentos-Rudolf, BalloonsMiguel Rodriguez Sepulveda, CachetadaRenny Barrios, Propuesta corporal para la solucion de 7 problemas de la escultura-ejecuciones furtivasT.P.A. (Torino Performance Art) è la prima edizione di un Festival dedicato alla promozione e alla diffusione della Performance Art contemporanea nelle sue pratiche più varie, sperimentali e indipendenti. L’obbiettivo è quello di attirare l’attenzione sulla vivace comunità di artisti che si dedicano a questa forma di espressione e di facilitare la connessione tra questi e il pubblico.Il progetto si avvale dell’ospitalità e della collaborazione dell’Accademia Albertina di Belle Arti, della Fondazione Pistoletto di Biella, di Novalis Contemporary Art. Sono coinvolte inoltre differenti realtà artistiche indipendenti: GreenBox, Studio Stefano Giorgi, Bin 11, Collettiva dell’Arte.Direzione Artistica: Manuela Macco Assistente: Annalisa TorrettaSpecial thanks to: Guido Salvini, Michela Depetris, Annalisa Torretta, Cristina Mirandola, Juan Esteban, Paola Spola, Elisabetta Vacca, Monica Saccomandi, Gianfranco Costagliola, Silvia Iracà, Elena Pugliese, Carlotta Laugelli, Leandro Franza, Paola Nepote, Gabriele Fracassi, Roberta Minici, Stefano Giorgi, Alessandra Valsecchi, Antonio Lagrotta, Lanificio San Salvatore.

[MAP]

Photo taken at Grizzly & Wolf Discovery Center in West Yellowstone, Montana

Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.

Bishop Apostolos Hierarchical Divine Liturgy Elkins Park 11-6-22

Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.

This richly decorated manuscript chronicles an account from the creation of the world up to 138 BCE. It was illuminated by associates of Loyset Liédet and Willem Vrelant, and was completed, likely in Bruges, ca. 1470-80. The book itself is a fine example of secular books that were in demand by aristocratic patrons in the southern Netherlands during the third quarter of the fifteenth century. Along with an expansive decoration program, this world history also features key heraldic evidence. The most current armorial shield that was painted among an abraded surrounding area is that of Adolph of Burgundy, seigneur of Bevres, Vere, and Flissinghe. He was a member of the Order of the Golden Fleece as of 1516, following his father Philip of Burgundy, and his grandfather Anthony of Burgundy ("Grand Bâtard de Bourgogne," illegitimate son of Philip the Good). The decoration and its organization throughout the text embodies principles of hierarchical design and artistic collaboration typical of expansive pictorial programs in this type of secular text. Of particular note are the six large miniatures, one before major text divisions of the chronicle and each spanning across two columns of text. These illustrations are quite imaginative and varied stylistically. There is a visual emphasis on the Trinity as evinced by the frontispiece, which features a Creation cycle in six medallions. Along with the six large illustrations, six major text divisions, and six medallion Creation cycle, this manuscript recalls Augustinian tenets on Trinitarianism linked with the Six Days of Creation, the Six Ages of Man, and the Six Ages of the World.

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

092987

Deanna Que

Poster redesign for FA Fest 2011.

HW for my FA171.4 class.

Hierarchy of H.K. Department in a large, medium and small hotel. Visit @ www.ihtm.in/housekeeping/

From:

blog.createdebate.com/2008/04/07/how-to-write-strong-argu...

I used the creative commons license and am giving attribution.

For: RTM Cycle 13.

Model: Kimberly Rydzewski.

Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.

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THE SQUATED AUTONOMOUS CULTURE CENTER

METZGERSTRASSE / HANAU

In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.

Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.

The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.

At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:

- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.

- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.

- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.

In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.

If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.

The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.

Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.

But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.

Wolfgang Sterneck, 2001.

Autonomes Kulturzentrum

Metzgerstrasse 8, D-63450 Hanau, Germany.

Autonomes Kulturzentrum Metzgerstraße:

- www.metzgerstrasse-hanau.org

- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...

- www.myspace.com/metzgerstrasse

- www.sterneck.net/squat

Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:

- www.sterneck.net/john-cage/metzgerstrasse-e

- * -

SUBVERSIVE SOUNDS *

Konzerte im Autonomen Kulturzentrum Hanau.

Das besetzte Haus

Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.

Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.

Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.

Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.

Selbstbestimmte Kultur ohne Kommerz

Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.

Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.

Freiräume statt Parkplätze

Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.

Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.

In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.

Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.

Wolfgang Sterneck, September 2011.

Autonomes Kulturzentrum Metzgerstraße:

- www.metzgerstrasse-hanau.org

- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...

- www.myspace.com/metzgerstrasse

- www.sterneck.net/squat

Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:

Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau

- www.sterneck.net/squat/metzgerstrasse-d

English Info:

The squated Autonomous Culture Center Metzgerstrasse Hanau

- www.sterneck.net/squat/metzgerstrasse-e

Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:

- www.sterneck.net/john-cage

- * -

SQUAT - SOUNDS

AUTONOMES KULTURZENTRUM HANAU

(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).

Photographs 1987-1994

- Please scroll down for english and german info) -

The Squat - Photos:

www.flickr.com/photos/sterneck/sets/72157627799174125

Squating the Parliament (1988):

www.flickr.com/photos/sterneck/sets/72157627923787960

Concert-Photos 1987-1988:

www.flickr.com/photos/sterneck/sets/72157627799191443

Concert-Photos 1989-1990:

www.flickr.com/photos/sterneck/sets/72157627923799072

Concert-Photos 1991-1992:

www.flickr.com/photos/sterneck/sets/72157627923811302

Concert-Photos 1993-1994:

www.flickr.com/photos/sterneck/sets/72157627923815978

- * -

Foto: ca. 1988.

- * -

Katja Koukkula

Jaakko Toivonen

LD Janne Teivainen

Aleksanterin Teatteri

maslow's hierarchy of needs

Here's a selection of unusual religious badges that have been identified. Most of these badges date to between the 1950's and the 1970's. They are all relatively common except for the SHCJ badge which is rare.

For size reference, the CWL badge measures 7/8" x 7/8" (about 23mm x 23mm).

CYMS (Catholic Young Men's Society)

The CYMS was established in 1849 by Father Richard Baptist O'Brien to serve as a spiritual and social organisation primarily for young Catholic men. Founded in Limerick, the number of CYMS branches grew and at its peak membership during the 1950's there were over a hundred branches in Ireland. The first CYMS in England was founded at Sheffield in 1854. There are 17 branches in Ireland (as at 1999) and women were admitted for the first time from 1984.

www.irishtimes.com/news/cyms-marks-150th-birthday-convinc...

.

SHCJ (Society of the Holy Child Jesus)

The CHCJ founded by Cornelia Connelly in 1846 and is an international congregation within the Catholic Church. Their first religious House opened at Derby and today the SHCJ has about 80 Sisters working and living throughout Europe, mostly in Britain and Ireland.

www.shcj.org/european/our-story/our-presence-in-europe/

.

CWL (Catholic Women's League of England & Wales)

The CWL was founded in 1906 and today, is represented in over 200 hundred parishes in dioceses across England and Wales.

www.catholicwomensleague.org/

.

PBS (Prayer Book Society)

The PBS was founded in 1972 as a charity organisation within the Anglican Church. The PBS advocates for the advancement of the Christian religion as set forth in the 1662 Book of Common Prayer. Their main concerns is to preserve the liturgy of the Book of Common Prayer in the face of new alternatives brought into the Church of England, such as the Alternative Service Book (1980) and Common Worship (2000)..

С. Несбудей "Иерархия"

www.arqueologiadelperu.com/scarlet-macaw-skeletons-point-...

New work on the skeletal remains of scarlet macaws found in an ancient Pueblo settlement indicates that social and political hierarchies may have emerged in the American Southwest earlier than previously thought.

This skull of a scarlet macaw (Ara macao) was excavated from Pueblo Bonito in New Mexico by researchers from the American Museum of Natural History in 1897 [Credit: © AMNH/D. Finnin]

Researchers determined that the macaws, whose brilliant red and blue feathers are highly prized in Pueblo culture, were persistently traded hundreds of miles north from Mesoamerica starting in the early 10th century, at least 150 years before the origin of hierarchy is usually attributed.

The findings, published today in the Proceedings of the National Academy of Sciences, suggest that the acquisition and control of macaws, along with other valued items like chocolate and turquoise, may have facilitated the development of hierarchy in the society.

"By directly dating the macaws, we have demonstrated the existence of long-distance networks throughout much of this settlement's history," said Adam Watson, a postdoctoral fellow in the American Museum of Natural History's Division of Anthropology and lead author on the paper.

"Our findings suggest that rather than the acquisition of macaws being a side effect of the rise of Chacoan society, there was a causal relationship. The ability to access these trade networks and the ritual power associated with macaws and their feathers may have been important to forming these hierarchies in the first place."

Archaeologists have known for more than a century that the pre-Hispanic Pueblo people of the American Southwest acquired goods from Mesoamerica, including marine shells from the Gulf of California, raw copper and crafted copper bells from west Mexico, cacao from the Neotropics, and tropical birds.

Scarlet macaws (Ara macao) have been recovered from many settlements in the Southwest, particularly at Chaco Canyon in northwestern New Mexico, a major cultural center that was densely occupied between about AD 800 and 1200 and had more than a dozen multi-storied "great houses."

A modern view of Pueblo Bonito, the largest of the 'great houses' in the pre-Hispanic cultural center of Chaco Canyon, which was occupied between about AD 900 and1500. Pueblo Bonito had about 650 rooms [Credit: © AMNH/A. Watson]

The birds are native to humid forests in tropical America--primarily the Gulf Coast region of Mexico, Central America, and northern sections of South America--so their presence at Chaco Canyon indicates the existence of long-distance procurement networks often characteristic of a complex society. It was traditionally thought that the Pueblo people did not bring these items back to the settlement until AD 1040, the start of an era of rapid architectural expansion called the Chaco florescence.

But new radiocarbon dating of artifacts discovered in the settlement is changing that view.

First excavated by a Museum-led team in 1896, the largest of the Chaco Canyon great houses was Pueblo Bonito, which had about 650 rooms. Among those rooms was one particularly unusual crypt: Room 33, a single small structure in the oldest area of the Pueblo, that contained 14 human bodies along with significant amounts of symbolically important items like turquoise, shell, and flutes. Two of the bodies were buried below a rare wooden floor with the majority of the grave goods, signaling the special treatment of elite individuals at Pueblo Bonito.

"In general, most researchers have argued that emergence of hierarchy, and of extensive trade networks that extended into Mexico, would coincide with what we see as other aspects of the Chaco florescence: roads being built outward from Chaco and the formation of what are called Chaco outliers that mimic the architecture seen in the cultural center," said Stephen Plog, professor of archaeology at the University of Virginia and a co-author on the paper. "For many years, that was the dominant model."

But in 2010, radiocarbon dating led by Plog showed that the two burials happened no later than AD 775-875.

"Based on these results, which call into question when the formation of the hierarchy actually began in Chaco, we decided to take another look at the macaws," Watson said.

The Hyde Exploring Expedition (1896-1900), sponsored by the American Museum of Natural History, excavated the now well-known site of Pueblo Bonito in Chaco Canyon, a pre-Hispanic cultural center in northwestern New Mexico [Credit: © AMNH Library/411866]

Ethnographically, scarlet macaws are particularly significant in Pueblo cosmology, where based on directional association by color (red/orange), they tend to designate southern positions. Ritual use of macaw feathers on prayer sticks, costumes, and masks to communicate prayers to gods is well recorded. The acquisition and control of scarlet macaws was likely the province of social and religious elites.

"Birds are a part of nature, but they are also agents with magical properties that can be put to human use," said Peter Whiteley, a curator in the Museum's Division of Anthropology and a co-author on the paper. "Flight or just the appearance of certain birds or the use of their feathers is believed to motivate the fall of rain or snow, as well as the seasons, the sunshine, and the heat."

The remains of 30 macaws have been found in Pueblo Bonito, including 14 in a single structure: Room 38, which, based on the amount of guano detected on the floor, was likely a sort of aviary. Previous attempts at indirect dating of macaw skeletons concluded that they were obtained during the Chaco florescence, but the accuracy of the methods used, based on associated tree rings and ceramic type frequencies, is questionable. With radiocarbon dating, the researchers examined 14 Pueblo Bonito macaw skeletons that are currently housed in the Museum's collection.

Direct radiocarbon dating of macaw skeletons found that 12 of the 14 sampled macaws predate the Chaco florescence, with about half of them dating to the late 800s and mid-900s. The acquisition of these birds would have been a formidable task, requiring the removal of fledglings from the nest soon after their birth before traveling between 1,800 and 2,500 kilometers (about 1,120-1,550 miles) on foot back to Chaco.

"We propose that the hierarchical sociopolitical foundation of Chacoan society was established during the initial era of construction of the great houses and that this foundation was reinforced during the late ninth and 10th centuries by the acquisition of scarlet macaws and other cosmologically powerful agents from Mesoamerica," Plog said. "Sociopolitical hierarchies evolved over the course of nearly two centuries before taking the more visible forms seen in the Chaco florescence. As in many parts of the world, this was a long-term process rather than a brief, abrupt transformation."Source: American Museum of Natural History [June 22, 2015]

i learnt about it by some u.s. novels in 90's, but bit surprised nothing has changed at all.

most interesting point is hannah & mitch's episode that all of his friends led him broke up with her just because she was out of his/their CLASS... it's 21C, isn't it?

in japan? mmm... from my experience, i guess hierarchy depends on not per genre, but in genre,

rich, smart and beautiful kids are easier to be "winner" though.

it is very fluid who is gonna be next "target" and net-bullyings are more vicious. sometimes they continue until the "target" would kill him/herself...

Hierarchy

The Cathedral Church of St. Barnabas was opened in 1844. It was an event of undoubted importance as witnessed by this engraving reproduced from the London Illustrated News of 31st August that year.

Prior to that, the Church of St. John the Evangelist, on George Street, had been the home to Nottingham's ever growing band of Catholics. This growth in the population, prompted the then Parish Priest, Fr. Robert Willson, to set out to raise funds for a larger Church.

Lord Shrewsbury, a champion of the Gothic Revival, stepped forward with financial support and employed A.W.N. Pugin as architect.

The Blessed Sacrament Chapel is considered by many to be the 'jewel in the crown' of St. Barnabas Cathedral. It is richly decorated as Pugin had originally intended and is the very heart of the Cathedral. In addition to being used for private prayer, the Chapel is also the centrepiece for more organised group prayer, such as that for Vocations on a Saturday morning.

More detailed information can be found:

taking-stock.org.uk/Home/Dioceses/Diocese-of-Nottingham/C...

-------------------------------------------------------------------------------------------

Cathedral Church of St Barnabas (RC), Nottingham, 1841-44.

By Augustus Welby Northmore Pugin (1812-1852).

For John Talbot, 16th Earl of Shrewsbury (1791-1852).

Grade ll* listed.

Cathedral History . . .

The Cathedral Church of St. Barnabas was opened in 1844. It was an event of undoubted importance as witnessed by this engraving reproduced from the London Illustrated News of 31st August that year.

Prior to that, the Church of St. John the Evangelist, on George Street, had been the home to Nottingham's ever growing band of Catholics. This growth in the population, prompted the then Parish Priest, Fr. Robert Willson, to set out to raise funds for a larger Church.

Lord Shrewsbury, a champion of the Gothic Revival, stepped forward with financial support and employed A.W.N. Pugin as architect.

The Blessed Sacrament Chapel is considered by many to be the 'jewel in the crown' of St. Barnabas Cathedral. It is richly decorated as Pugin had originally intended and is the very heart of the Cathedral. In addition to being used for private prayer, the Chapel is also the centrepiece for more organised group prayer, such as that for Vocations on a Saturday morning.

www.stbarnabascathedral.org.uk/02_Barnabas/History.html

————————————————————

The Cathedral Church of St. Barnabas in the city of Nottingham, England, is a cathedral of the Roman Catholic church. It is the mother church of the Diocese of Nottingham and seat of the Bishop of Nottingham.

Location

It is located on the corner of Derby Road and North Circus Street, on the opposite side of which are the Albert Hall and the Nottingham Playhouse (Wellington Circus).

History

It was built between 1841 and 1844, costing £15,000 (equivalent to £1,510,000 in 2019), and was first consecrated in 1844, fifteen years after the Catholic Relief Act ended most restrictions on Catholicism in the United Kingdom. A substantial amount of the cost was paid by the important Catholic Lord Shrewsbury. The architect was Augustus Welby Northmore Pugin who also designed the interior of The Houses of Parliament. It was built in the Early English Plain Gothic style, although in contrast, the Blessed Sacrament Chapel was richly decorated and Pugin's later churches were built in that Decorated Gothic style throughout. Pugin was retained as architect by Rev Robert William Willson, then priest in charge of Nottingham. In 1842 he was named as Bishop-Elect of Hobart, Tasmania, and had to leave the work in Nottingham before completion.

Following the establishment of a new Catholic hierarchy in England and Wales in 1850 by the decree of Pope Pius IX, it was raised to cathedral status in 1852, becoming one of the first four Catholic cathedrals in England and Wales since the English Reformation. It is the seat of the Bishop of Nottingham.

The cathedral is a Grade II* listed building of the lancet style of architecture, and is considered to be one of the best specimens of Pugin's work. Most of Pugin's decorative scheme was destroyed in the upheaval that surrounded the Second Vatican Council, when the old high altar was discarded, and most of the painted decoration smothered and painted plain. Other fittings removed at this time include the old cathedra, as well as the figures of St Mary and St John from the rood screen (the figures were reinstated in 1993). Buildings of England wrote: ‘The whole effect could hardly be further from the richness of decoration and atmosphere that Pugin intended’. A fragment of the scheme is preserved in the Blessed Sacrament chapel, and is the highlight of the interior. The replacement high altar from the 1960s was replaced again in 1993 with one in a more sympathetic style. Fragments of Pugin's decoration, such as the roundels in the nave, were uncovered and restored, but most remains lost.

The clergy of the Cathedral also serve the church of St. Augustine on Woodborough Road.

en.wikipedia.org/wiki/Nottingham_Cathedral

--------------------------------------------------------------------------------------------------------------

CATHEDRAL CHURCH OF ST BARNABAS AND ATTACHED BOUNDARY WALL, DERBY ROAD, NOTTINGHAM

Heritage Category: Listed Building

Grade: II*

List Entry Number: 1247533

Date first listed: 11-Aug-1952

Details

NOTTINGHAM

SK5640SE DERBY ROAD 646-1/13/187 (South side) 11/08/52 Cathedral Church of St Barnabas and attached boundary wall (Formerly Listed as: DERBY ROAD Roman Catholic Cathedral of St Barnabas)

GV II*

Roman Catholic church, created a cathedral in 1851. 1841-44. By Augustus Welby Northmore Pugin for John Talbot, 16th Earl of Shrewsbury, and Ambrose Philipps de Lisle. Altered late C19, 1927, 1962. Restored 1933 and c1990. Ashlar with slate roofs. Gothic Revival style. PLAN: cruciform plan, nearly symmetrical, with crossing tower and spire. EXTERIOR: plinth, coped gables with crosses. Windows are mainly plain lancets. Choir with eastern chapel and side chapels, crossing and transepts, nave with aisles and 3 porches. East end has a projecting central gable with 3 graduated lancets. Side chapels have single lancets to east and 2 lancets to the returns. Choir has a round east window with plate tracery, and 3 pairs of lancets to the clerestory. Side chapels have buttresses to east, and 3 lancets. Transepts have buttresses to east, and very tall triple lancets with quatrefoils above, all with hood moulds. Organ chamber, to north-east, has 2 lancets. Blessed Sacrament chapel, to south east, has 3 lancets. sacristy corridor, to south east, linked to adjoining presbytery. Square crossing tower, 2 stages, has a recessed bell stage with two 2-light pointed arched openings with moulded surrounds. Octagonal broach spire with diagonal buttresses containing niches. Between them, single lucarnes. Nave has 5 pairs of clerestory lancets. West end has clasping buttresses and a moulded doorcase with hood mould and triple shafts. Above it, a triple lancet and quatrefoils. Aisles have 4 side lancets and single west windows. Off-centre porches with moulded pointed arched doorways.

INTERIOR: Pugin's decorative scheme was never completed, and was further reduced late C19 and 1962. The Blessed Sacrament (SE) chapel was restored to Pugin's design by Alphege Pippet in 1933. Redecorated 1971-74. Double chamfered arches throughout. Choir has arch braced roof, and arcades with quatrefoil piers, 3 bays, with wooden screens. East end has a moulded double arch with octagonal pier. West arch, flanked by figures in niches, has a hanging crucifix by Pugin. Crypt, 3 bays, has segmental pointed arches on round piers, and contains the tombs of 5 bishops. Blessed Sacrament chapel has elaborate stencilled decoration. North arcade, 3 bays, with wooden screen. Arch braced roof with wall shafts and angel corbels. East end has a baldacchino with marble pillars and cusped arch, under a gable. Windows have stained glass, that to south designed by Pugin and made by Wailes. Central east chapel has arch and screen on each side, aumbry, piscina and sedilia to east, and ashlar blind arcade at east end. North and south chapels are similar, without sedilia. All have scissor braced roofs. Ambulatory, 3 bays, has shrine with figure on bracket, and door to Presbytery at south end. Crossing has an arcaded corbel table with 4 pointed arched openings above it, and cross beam ceiling. Transepts have stained glass windows. On the east sides, pointed arches into the organ chamber and south-east chapel. Nave has arcades, 5 bays, with octagonal piers, double clerestory windows and strutted king post roof with collar purlins. Aisles have lean to roofs and eastern arches.

Fittings include C19 square font on round columns. Other fittings mid and late C20. Aisle windows have stained glass by Pugin. Transepts have stained glass, mid C20, by Nuttgens. No memorials of special interest. Attached boundary wall, ashlar with gabled coping, bordering Derby Road and North Circus Street. Approx 60m x 40m. (The Buildings of England: Pevsner N: Nottinghamshire: London: 1979-: 241-242; Nottingham Cathedral: a history of Catholic Nottingham: Mgr. M Cummins: Nottingham: 1977-1985: PASSIM).

Listing NGR: SK5672040028

Sources

Books and journals

Monsignor Cummins, M , Nottingham Cathedral a History of Catholic Nottingham, (1985)

Williamson, E, The Buildings of England: Nottinghamshire, (1979), 241-242

historicengland.org.uk/listing/the-list/list-entry/1247533

Hierarchy.

Interesting choice of word to illustrate—and by interesting I mean—wtf? But hey, it certainly was a challenge to come up with something unique to represent the mundane.

The only thing I could think of was one of those organizational charts that list the boss in the big box at the top, and then the descending echelons of minions, lackeys and worker bees. The chart where people hope that they are at least as high (if not higher) on the feeder scale than the schmuck who wants you to buy his daughter’s Girl Scout cookies.

Anyway—I’ve seen (and designed) enough of the ‘org’ chart that my mind automatically goes there for ‘hierarchy’ and refuses to leave. Thus, I bring you the little doodle below. For those who keep track of this stuff: this ‘toon was created Illustrator CS3 though it probably could have been done just as easily in MS Paint.

I appreciate your comments.

Dwarf mongoose is the smallest of the mongoose family Herpestidae and is highly social living in cohesive groups of three to 30 individuals that collectively engage in cooperative breeding, territory defense, sentry duties to look out for predators, babysitting and grooming. Within each group there is rigid hierarchy with a single breeding pair which is dominant and which suppresses reproduction of all other group members. Dwarf mongooses are active during the day in relatively open habitats were they mainly feed on insects but are also known to prey on snakes, lizards and small mammals.

A pyramid I'm planning to use in my Ed.D. thesis, based on my reading of the work of Ong & McLuhan.

Just see this infographic carefully to have an idea about supply chain management.

Maslow's hierarchy of needs and the social media that fulfill them

One of the oldest plants on the planet, Ferns exhibit two structural characteristics that pervade the entire biota: Fractal Geometry and Circulation Hierarchy. The first is evident in the scaling up of self-similar elements. The second in the dendrite structure of the circulation elements with the progressively smaller lengths and widths of arteries down to the capillary level. Of note also is the predominance of 3-way junctions between higher and lower order veins. This system contains lessons for man-made circulation systems such as water, electricity, ventilation, telephones, the internet and finally roads.

Josef Scharl, München 1896 - New York 1954

Hierarchie - Hierarchy, Detail (1937)

Städel, Frankfurt

Streng hierarchisch erscheint die figurale Pyramide, die in der frontalen Darstellung einer wie inthronisiert wirkenden „Führergestalt“ gipfelt. Durch die groteske, nahezu fratzenhafte Überzeichnung der Würdenträger unterläuft Josef Scharl den vermeintlichen Sinngehalt des Biltitels, der als parodistischer Angriff auf das Autoritätsdenken der zeitgenössischen NS-Ideologie aufgefasst werden kann.

Entstanden ist das stilistisch an den Expressionismus wie auch an die Neue Sachlichkeit angelehnte Gemälde im selben Jahr, in dem der Münchener Künstler mit einem Ausstellungsverbot belegt wurde. Kurz darauf emigrierte der als „entartet“ verfemte Maler ins amerikanische Exil.

Quelle: Städel

The so called 'wiring diagram' from a book I happen to have handy, 'American Ambassadors'.

Making his own rules:

www.politico.com/story/2017/01/trump-diplomacy-internatio...

Sunday, July 3, 2016 â NASHVILLE, Tenn. â Almost a thousand people attended the Hierarchical Divine Liturgy this morning that began the 43rd Biennial Clergy-Laity Congress of the Greek Orthodox Archdiocese of America.

The Orthros service and Hierarchical Concelebration of the Divine Liturgy were held in the Grand Ole Opry House.

His Eminence Archbishop Demetrios Geron of America presided over the Divine Liturgy concelebrating with all the Metropolitans of the Holy Eparchial Synod of the Archdiocese. Taking part in the Liturgy were His Eminence Metropolitan Iakovos of Chicago, His Eminence Metropolitan Methodios of Boston, His Eminence Metropolitan Isaiah of Denver, His Eminence Metropolitan Alexios of Atlanta, His Eminence Metropolitan Nicholas of Detroit (the host Metropolitan of this yearâ s Congress), His Eminence Metropolitan Savas of Pittsburgh, His Eminence Metropolitan Gerasimos of San Francisco, and His Eminence Metropolitan Evangelos of New Jersey.

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μμεÏείÏαν εÏίÏÎ·Ï Î¿Î¹ ιεÏÎµÎ¯Ï Ï. Joel McEachen, Ï. ΧÏιÏÏÏÏοÏÎ¿Ï ÎηÏÏÏÏοÏ

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ÎÏÎ-Î½Î²ÎµÏ ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï ÏÏοÎÏÏαÏαι ο ÎηÏÏοÏολίÏÎ·Ï ÎÏÎ-Î½Î²ÎµÏ Îº. ÎικÏλαοÏ. ÎÏικεÏÎ±Î»Î®Ï ÏÎ·Ï Î¿ÏγανÏÏÎ¹ÎºÎ®Ï ÎµÏιÏÏοÏÎ®Ï ÎµÎ¯Î½Î±Î¹ Ïο ζεÏÎ³Î¿Ï George και Lee Ann Anderson, ενοÏίÏÎµÏ ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î¿Ï ÏοÏ

ÎάÏβιλ.

PHOTOS: © Greek Orthodox Archdiocese, GOA/DIMITRIOS PANAGOS